I studied with Carmine back in the mid to late 70's.
I recall one Saturday afternoon a husband and wife showed up for a session as I was wrapping up my lesson. Nothing unusual about that except the wife was a violinist. She took the seat opposite Carmine when I got up. I can't recall what the husband played. I had to leave to catch a train and didn't stay to watch.
Anyone here ever recall seeing someone other than a brass player in Carmine's studio?

In my time with him I observed tuba, trombone, oboe, clarinet, violin and vocalist lessons. He taught all of them basically the same calisthenics (adapted for range) and continually emphasized the same principles._________________Bach trumpet artist-clinician
Professor of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops since 1976

I don't really play trumpet much these days. Not a lot of work in my area and since retiring we travel a fair amount. No kids so we actually have the $$$ to travel.
Some years ago I took up ukulele and used it a lot in my job as a music educator. A few years ago I decided to get serious about playing finger style. I took lessons for 3 years. I do find that I use many of Carmine's fundamental principles. It may sound silly on a brass forum but it really works on any instrument.
The nice thing about the uke is that you can take it anywhere and pretty much practice any time of day and not disturb your neighbors or family. I also play and sometimes perform on djembe. I can only practice when my wife is out of the house!
Carmine was so far ahead of his time. He really was an amazing individual.

I studied with Carmine in the late 60s and very early 70s. I never saw a non-brass player in his studio but, at his urging, used the basic interval and dynamics studies with woodwind students I was teaching. This produced great results and I would endorse this method for all teachers.